Carl Vine

THE PIANO SONATAS OF CARL VINE:

A GUIDELINE TO PERFORMANCE AND STYLE ANALYSIS

D.M.A.DOCUMENT

Presented in Partial Fulfillment of the Requirements for

the Degree of Doctor of Music Arts in the

Graduate School of The Ohio State University

By

Eun-Kyoung Yang, M.M.

*****

The Ohio State University

2003

Document Committee: Approved by

Dr. Caroline Hong, Advisor

Dr. Arved Ashby

Professor Charles Waddell Adviser School of Music

ABSTRACT

The two piano sonatas of Carl Vine (b.1954) written in 1990 and 1997,

respectively, are an important contribution to the piano literature. Marked by virtuosity,

the sonatas utilize the entire range of the keyboard to express emotions varying from

quiet solitude to rhythmically charged exuberance.1 They also presents the pianist with

technical difficulties and some interesting use of the pedals. My intention in this

document, after enjoying performance experience with the first sonata in particular, is to

provide the performer with guidelines, which will aid in achieving the best possible

interpretation of these works.

Memorization techniques will be addressed in this document, as I strongly believe

these works should be performed from memory. This is not an impossibility since the

harmonic language of Carl Vine is relatively conservative when compared to other

composers of the same generation. Due to fast technical passages, intensity of the music,

and duration of these pieces, a page-turner would simply distract from the overall impact

and effect of these large dramatic works. In fact, the handful of performances in this

country have been given without the use of the score. These two sonatas show Vine’s

unique compositional style and how well he understands the piano. Due to his

experience as a performer, his two sonatas fit very well under the pianist’s hands.

ii

I came across these pieces through my adviser, Dr.Caroline Hong, who studied

with Sergei Babayan, an advocate of contemporary piano music. Babayan brought the

Sonata No.1, which was originally commissioned by the Sydney Ballet, to the attention

of American pianists with his first recording in 1998. This recording received rave

review from the New York Times and from the composer himself. Though Hong’s

recording of this piece has not yet been released, I have included hers in the supplemental

appendix as she plans to release it within this year.

The remaining breakdown of this document is as follows:

Chapter 1 is an introduction, which provides Carl Vine’s biographical

background, an overview of his piano writing technique, and a review of the two piano

sonatas. Chapter 2 will discuss piano and memorization techniques required to perform

contemporary music, highlighting specific practice suggestions for gaining proper

velocity in the two sonatas. Chapter 3 offers a comparison of the two piano sonatas with

regard to form and compositional style. Chapter 4 contains thorough performance

guidelines and the concluding chapter offers some thoughts on the value of Carl Vine’s

two piano sonatas relative to contemporary music performed by pianists on the concert

stage and in competitions throughout the U.S. and Europe.

iii

ACKNOWLEDGMENTS

I would like to express deep gratitude to my adviser, Dr. Caroline Hong, for her

constant guidance and support during the length of my study at The Ohio State

University. She has served at inspiration to me both as a professor and pianist.

I also express my deep appreciation to Dr. Arved Ashby for his brilliant advice

and assistance in shaping my document.

Specially thanks to Professor Waddell for his encouragement and kindness

throughout the required recitals and general examinations.

I would also like to acknowledge Sergei Babayan, who has brought the attention

of Carl Vine’s sonatas to the American public. His artistic vision is largely responsible

for many of the ideas in this document, as well as specific, technical illustration and

suggestions.

I am grateful to my husband for his support and endless assistance. Finally, I owe

great thanks to my parents for supporting and encouraging me during the years of my

doctoral study.

iv

VITA

January 26, 1971……………………..Born- Seoul, Korea

1994 ………………………………….B.A., Piano Performance, HanYang University, Seoul, Korea

1997…………………………………..M.M., Piano Performance, HanYang University, Seoul Korea

1999-2001…………………………….Graduate Teaching Associate, The Ohio State University

FIELD OF STUDY

Major Field: Music

Studies in Piano Performance: Professor Caroline Hong

Studies in Pedagogy: Professor Kenneth Williams

Studies in Piano Literature: Professor Caroline Hong

Studies in Piano Accompanying: Professor Caroline Hong Professor Charles Waddell

Studies in Chamber Music Literature: Professor Arved Ashby

Studies in Theory: Professor Ann M. Stimson

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TABLE OF CONTENTS

ABSTRACT........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iv VITA................................................................................................................................... v FIELD OF STUDY............................................................................................................. v TABLE OF CONTENTS................................................................................................... vi LIST OF FIGURES ......................................................................................................... viii CHAPTERS 1. INTRODUCTION .......................................................................................................... 1

1.1 Carl Vine’s Biographical Background...................................................................... 1 1.2 Carl Vine’s Piano Style............................................................................................. 3 1.3 Review of the Two Piano Sonatas ............................................................................ 5

2. TWENTIETH-CENTURY PIANO TECHNIQUE ........................................................ 7

2.1 Approaching the Music............................................................................................. 8 2.2 Techniques .............................................................................................................. 10

2.2.1 Velocity............................................................................................................ 12 2.2.2 Tone ................................................................................................................. 13

2.3 Memorization.......................................................................................................... 16 3. COMPARISON OF VINE’S PIANO SONATA NO. 1............................................... 20 AND PIANO SONATA NO. 2..................................................................................... 20

3.1 Form........................................................................................................................ 20 3.2 Style ........................................................................................................................ 25

3.2.1 Repeated Patterns............................................................................................. 27 3.2.2 Accented Main Melody.................................................................................... 32 3.2.3 Characteristic Section by Pointilistic Method.................................................. 35 3.2.4 Contrapuntal Technique................................................................................... 35 3.2.5 Piling up Notes by Pedaling............................................................................. 37 3.2.6 Extreme Contrast ............................................................................................. 37

vi

4. PERFORMANCE GUIDELINES ................................................................................ 41 4.1 Piano Sonata (1990)................................................................................................ 41

4.1.1 First Movement................................................................................................ 42 4.1.1.1 Ostinato ..................................................................................................... 42 4.1.1.2 Pedaling..................................................................................................... 42 4.1.1.3 Voicing and Phrasing................................................................................ 44 4.1.1.4 Tempo ....................................................................................................... 47 4.1.1.5 Divisi......................................................................................................... 48 4.1.1.6 Memorization............................................................................................ 49 4.1.1.7 Building Climax........................................................................................ 51 4.1.1.8 Practice for Velocity ................................................................................. 52 4.1.1.9 Tone Quality ............................................................................................. 53

4.1.2 Second Movement ........................................................................................... 55 4.1.2.1 Practice for Velocity ................................................................................. 56 4.1.2.2 Tone Quality ............................................................................................. 58 4.1.2.3 Voicing and Phrasing................................................................................ 60 4.1.2.4 Posture....................................................................................................... 65 4.1.2.5 Pedaling..................................................................................................... 66 4.1.2.6 Divisi......................................................................................................... 66 4.1.2.7 Building Climax........................................................................................ 70 4.1.2.8 Memorization............................................................................................ 71

4.2 Piano Sonata No.2................................................................................................... 72 4.2.1 First Movement................................................................................................ 72

4.2.1.1 Tone Quality ............................................................................................. 72 4.2.1.2 Posture....................................................................................................... 75 4.2.1.3 Voicing and Phrasing................................................................................ 77

4.2.2 Second Movement ........................................................................................... 80 4.2.2.1 Pedaling..................................................................................................... 80 4.2.2.2 Tone Quality ............................................................................................. 81 4.2.2.3 Memorization............................................................................................ 85 4.2.2.4 Tone Cluster.............................................................................................. 86 4.2.2.5 Posture....................................................................................................... 87 4.2.2.6 6th Parallel Progression and Harmonic Tremolo...................................... 88

5. CONCLUSION............................................................................................................. 90 APPENDIX....................................................................................................................... 92 ENDNOTES ..................................................................................................................... 93 BIBLIOGRAPHY............................................................................................................. 96

vii

LIST OF FIGURES

Figure 3.1 Vine Piano Sonata No. 1, 1st mov. m. 34-39 ................................................... 28 Figure 3.2 Vine Piano Sonata No. 1, 1st mov. m. 142-147 ............................................... 29 Figure 3.3 Vine Piano Sonata No. 1, 1st mov. m. 104-111 ............................................... 30 Figure 3.4 Vine Piano Sonata No. 1, 1st mov. m. 129-137 ............................................... 30 Figure 3.5. Vine Piano Sonata No. 2, 1st mov. m. 30-33 .................................................. 31 Figure 3.6. Vine Piano Sonata No. 2, 1st mov. m. 147-150 .............................................. 32 Figure 3.7 Vine Piano Sonata No. 1, 1st mov. m. 81-83 ................................................... 33 Figure 3.8 Vine Piano Sonata No. 2, 1st mov. m. 121-122 ............................................... 34 Figure 3.9 Vine Piano Sonata No. 1, 2nd mov. m. 210-211 .............................................. 36 Figure 3.10 Vine Piano Sonata No. 2, 2nd mov. m. 237-238 ............................................ 36 Figure 3.11 Vine Piano Sonata No. 1, 2nd mov. m. 420-421 ............................................ 38 Figure 3.12 Vine Piano Sonata No. 1, 1st mov. m. 160-164 ............................................. 39 Figure 3.13 Vine Piano Sonata No. 2, 2nd mov. m. 363-370 ............................................ 40 Figure 4.1 Vine Piano Sonata No.1, 1st mov. m. 1-4 ........................................................ 43 Figure 4.2 Vine Piano Sonata No.1, 1st mov. m. 129-132 ................................................ 44 Figure 4.3 Vine Piano Sonata No.1, 1st mov. m. 20-21 .................................................... 45 Figure 4.4 Vine Piano Sonata No.1, 1st mov. m. 73 - 75 .................................................. 46 Figure 4.5 Vine Piano Sonata No.1, 1st mov. m. 173 ....................................................... 47 Figure 4.6 Vine Piano Sonata No.1, 1st mov. m. 12 - 13 .................................................. 49 Figure 4.7 Vine Piano Sonata No.1, 1st mov. m. 162 – 165 ............................................. 49 Figure 4.8 Vine Piano Sonata No.1, 1st mov. m. 104 ....................................................... 51 Figure 4.9 Vine Piano Sonata No.1, 1st mov. m. 160 - 164 .............................................. 54 Figure 4.10 Vine Piano Sonata No.1, 1st mov. m. 162 - 164 ............................................ 54 Figure 4.11 Vine Piano Sonata No.1, 1st mov. m. 167-168 .............................................. 55 Figure 4.12 Vine Piano Sonata No.1, 2nd mov. m. 194 - 195 ........................................... 56 Figure 4.13 Vine Piano Sonata No.1, 2nd mov. m. 402 - 403 ........................................... 58 Figure 4.14 Vine Piano Sonata No.1, 2nd mov. m. 390 - 395 ........................................... 60 Figure 4.15 Vine Piano Sonata No.1, 2nd mov. m. 194 - 195 ........................................... 61 Figure 4.16 Vine Piano Sonata No.1, 2nd mov. m. 212 - 213 ........................................... 61 Figure 4.17 Vine Piano Sonata No.1, 2nd mov. m. 246-247 ............................................. 62 Figure 4.18 Vine Piano Sonata No.1, 2nd mov. m. 246 - 247 ........................................... 63 Figure 4.19 Vine Piano Sonata No.1, 2nd mov. m. 318-321 ............................................. 64 Figure 4.20 Vine Piano Sonata No.1, 2nd mov. m. 318 - 319 ........................................... 65 Figure 4.21 Vine Piano Sonata No.1, 2nd mov. m. 281 - 284 ........................................... 67 Figure 4.22 Vine Piano Sonata No.1, 2nd mov. m. 285 – 290........................................... 68 Figure 4.23 Vine Piano Sonata No.1, 2nd mov. m. 302 - 303 ........................................... 68

viii

Figure 4.24 Vine Piano Sonata No.1, 2nd mov. m. 304..................................................... 69 Figure 4.25 Vine Piano Sonata No.1, 2nd mov. m. 305..................................................... 69 Figure 4.26 Vine Piano Sonata No.1, 2nd mov. m. 308..................................................... 69 Figure 4.27 Vine Piano Sonata No.1, 2nd mov. m. 341 - 342 ........................................... 70 Figure 4.28 Vine Piano Sonata No.1, 1st mov, m. 104 - 106 ............................................ 71 Figure 4.29 Vine Piano Sonata No.1, 2nd mov. m. 337 - 338 ........................................... 71 Figure 4.30 Vine Piano Sonata No.2, 1st mov. m. 26-29 .................................................. 74 Figure 4.31 Vine Piano Sonata No.2, 1st mov. m. 107 ..................................................... 75 Figure 4.32 Vine Piano Sonata No.2, 1st mov. m. 46 - 49 ................................................ 76 Figure 4.33 Vine Piano Sonata No.2, 1st mov. m. 61 ....................................................... 77 Figure 4.34 Vine Piano Sonata No.2, 1st mov. m. 50 - 51 ................................................ 77 Figure 4.35 Vine Piano Sonata No.2, 1st mov. m. 147-150 .............................................. 78 Figure 4.36 Vine Piano Sonata No.1, 1st mov. m. 172 - 173 ............................................ 79 Figure 4.37 Vine Piano Sonata No.1, 2nd mov. m. 285-290 ............................................. 79 Figure 4.38 Vine Piano Sonata No.2, 1st mov. m. 167-169 .............................................. 80 Figure 4.39 Vine Piano Sonata No.2, 2nd mov. m. 222 - 223 ........................................... 81 Figure 4.40 Vine Piano Sonata No.2, 2nd mov. m. 263 - 264 ........................................... 82 Figure 4.41 Vine Piano Sonata No.1, 2nd mov. m. 194 - 195 ........................................... 82 Figure 4.42 Vine Piano Sonata No.2, 2nd mov. m. 292 – 297........................................... 83 Figure 4.43 Vine Piano Sonata No.1, 2nd mov. m. 387 - 391 ........................................... 84 Figure 4.44 Vine Piano Sonata No.2, 2nd mov. m. 400..................................................... 85 Figure 4.45 Vine Piano Sonata No.2, 2nd mov. m. 237 - 238 ........................................... 85 Figure 4.46 Vine Piano Sonata No.2, 2nd mov. m. 245 - 246 ........................................... 86 Figure 4.47 Vine Piano Sonata No.2, 2nd mov. m. 253 - 254 ........................................... 86 Figure 4.48 Vine Piano Sonata No.2, 2nd mov. m. 444 - 445 ........................................... 87 Figure 4.49 Vine Piano Sonata No.2, 2nd mov. m. 483 - 486 ........................................... 88 Figure 4.50 Vine Piano Sonata No.2, 2nd mov. m. 487-489 ............................................. 88

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CHAPTER 1

INTRODUCTION

1.1 Carl Vine’s Biographical Background

Carl Vine was born in 1954 in Perth, Western Australia. He is one of the most

widely performed and commissioned composers in Australia. His publisher’s website

tells us that “Carl Vine has a firmly established reputation as a prodigiously gifted

composer in Australia’s diverse and evolving musical climate”. He played cornet, piano

and organ as a child and studied piano with Stephen Dornan and composition with John

Exton at the University of Western Australia.2 He won a youth composition competition

with the electronic work Unwritten Divertimento (1970) at the age of 16, and while still

at school completed an electronic commission for the West Australian Ballet. Through

diverse experiences in childhood, Carl Vine became a first-rate performer as well as an

articulate and gifted composer.3 His understanding as a player helped him to compose

more easily accessible pieces for the performer.

Known as a composer with an impressively large output, Carl Vine’s talents also

extend to performance, with considerable experience as a pianist and conductor. Moving

to Sydney in 1975, he worked as a freelance pianist and composer with a wide variety of

ensembles, theatre and dance companies. He has given premiere performances of several

1

Australian works for solo piano, and has appeared as conductor and pianist in Europe, the

United Kingdom and the USA.4 In 1979-89, with the trombonist Simon de Haan, Carl

Vine was co-founder of the contemporary music ensemble Flederman, which specialized

in the performance of new Australian music. Flederman performed widely in Australia

and abroad and presented many of Vine’s own works.5

Vine taught Electronic Music Composition at the Queensland Conservatorium

from 1980-82, but works chiefly as a freelancer. Vine first came to prominence in

Australia as a composer of music for dance, with over 20 dance scores to his credit. He

also composed six symphonies, four concertos, music for film, television theatre,

electronic music and many solo and chamber works. Although primarily a composer of

modern “classical” music, he has undertaken tasks as diverse as arranging the Australian

National Anthem and writing music for the Closing Ceremony of the 1996 Atlanta

Olympics.6 His works are among the most widely performed in Australia, and many are

available on commercial recordings.

Vine’s earliest works, such as Tip (1977), were mainly electronic, for amplified

string quartet, orchestra and electronics (later withdrawn). Vine came to prominence as a

composer of vibrant, imaginative music for dance and incidental music for plays,

television and films. His work with Sydney Dance Company led to Poppy (1978), the

first full-length Australian dance work, and he has since composed a large number of

commissions for dance companies, including The Tempest (1988). Warren Bebbington

states, “These are works of great vitality and wit, written with deep understanding of the

dancer’s needs.” His years with Flederman produced a number of chamber works,

including Café Concertino (1984), increasingly an Australian classic; these are virtuosic

2

works, described by Bebbington as having “complex manipulations of the rhythmic

pulse, yet their texture is never opaque and is always superbly crafted with a player’s

understanding of technique.”7 As well as those impressive works, there are the Piano

Sonata (1990) for Michael Harvey and Percussion Symphony (No.5) (1995) for the

Sydney Symphony Orchestra and Synergy Percussion.8

Vine has produced orchestral works for the Australian Broadcasting Company,

including four concertos and six symphonies, works his publisher’s website describes as

“increasingly tonal, without losing the individual eloquence of his earlier voice.”9 His

first three symphonies have been released on compact disc by the Sydney Symphony

Orchestra (conducted by Stuart Challender) and a CD of his chamber music featuring the

Piano Sonata performed by Michael Harvey was released in 1992.

Recently his Piano Concerto, Symphony 4.2, and Choral Symphony (Symphony

No. 6) have been released on an ABC Classics CD with the Sydney Symphony, along

with a second volume of his chamber music, including his second Piano Sonata on the

Tall Poppies label. His latest score for Graeme Murphy’s Olympic Arts festival ballet

Mytholgia was hailed as “a masterwork” and has also been recently released on the Tall

Poppies label.10

1.2 Carl Vine’s Piano Style

In his two sonatas, Carl Vine shows his own unique piano style. These works are

mostly about sound and momentum as achieved through rhythmic energy. Doris Leland

Harrel describes the role of sound as an element in twentieth-century music: “It would

appear that piano music has entered an ‘era of sound’ in which there is now significance

3

and importance in sonority itself, rather than in the way sounds relate to each other in an

ongoing developmental order.”11 But rhythm is also an important element in the

twentieth century, as Joel Lester insists: “An incredibly wide range of rhythmic situations

may be found in twentieth-century music.”12 In Vine’s piano sonatas, one can recognize

clearly rhythmic as well as pitch motives. Along with these units of rhythmic repetition,

a strong pulse in each section helps create the sense of ongoing momentum in Vine’s

piano sonatas. This pulse is created by events in the low register with pedaling. He also

builds up a “thunderous climax” as another way to involve the listener.

These elements make Vine’s piano sonatas rich and full in spite of rather simple

textures compared to Prokofiev, Schumann or Liszt. A review describes Vine’s rhythmic

and melodic language as follows: “His music is rhythmically cogent (I was occasionally

reminded of Roy Harris or of Copland) and makes frequent use of ostinato…some of his

most striking effects are quite complex, with richly embroidered polyphony and multiple

ostinatos that enable the music to move at two different speeds at once. There is

abundant floridly ornamental melody, but beneath the tendrils the melodic substance is

often quite simple, even innocent.”13

Vine’s melodies in his piano sonatas are not only dramatic, impressive, beautiful

tunes; they are also comprised of motives. The motive has a more important role than

melody in nontonal, as opposed to tonal, music. Lester writes: “The motives of a tonal

piece interact with the harmony and voice leading common to all tonal music. Since

there is no pitch language shared by all nontonal pieces, motives in nontonal music play

an essential role in determining the pitches of the piece.”14 In Vine’s piano sonatas, one

4

can find the melody developing through motives mostly because of the strong and

energetic rhythmic figuration. As a result, the melodies of the two sonatas are attractive.

1.3 Review of the Two Piano Sonatas

Vine’s Piano Sonata No. 1 is dedicated to Michael Kieran Harvey and was

commissioned by the Sydney Dance Company to accompany choreography by Graeme

Murphy. The first dance performance took place in the Drama Theatre of the Sydney

Opera House in May, 1992.15

Harvey is the first Australian to win a major international piano competition, the

1993 Inagural Ivo Pogorelich International Solo Piano Competition in Pasadena. The

distinguished Australian virtuoso maintains a busy international performing career, his

repertoire including many new works in a variety of media developed by both local and

international composers. He has performed extensively in Europe and the USA,

showcasing many contemporary Australian works as well as more traditional repertoire.

Harvey performed (with the Sydney Symphony Orchestra, conducted by Edo de Waart)

the Piano Concerto written for and dedicated to him by Vine at the Sydney Opera House

in 1997; the performance was broadcast live on ABC TV and released on CD by ABC

Classics in 2000.16 Following the enormously successful premiere of the Piano Concerto

in 1997, Harvey asked Vine to write Piano Sonata No. 2, which premiered at the 1998

Sydney Festival. This work was commissioned by Graeme and Margaret Lee, Michael

Harvey, and the Sydney Festival.17

Compared to other twentieth-century piano works, Vine’s piano sonatas are rather

easy for both the performer and audience to understand. Michael Harvey states, “In

5

discussing the work, Vine is reticent about offering explanations for the compositional

processes involved, feeling that these are self-evident, and indeed the work is definitely

aurally ‘accessible’ on first hearing.”18 As Harvey implies, the performer can feel his or

her way through Piano Sonata No. 1 simply by listening to it. Again, for this reason, the

sonata differs from many modernist twentieth-century scores.

Michael Harvey makes a statement about Piano Sonata No. 1 in the program note:

“Drawing on the lithe beauty and contrapuntal elegance of the earlier Elliot Carter Piano Sonata (1946), the Piano Sonata by Carl Vine is a work characterized by intense rhythmic drive and the building up of layers of resonance. These layers are sometimes delicate and modal, achieving a ‘pointed’ polyphony by the use of complex cross- rhythm, at other times being granite-like in density, creating waves of sound which propel the music irresistibly towards its climax.”19

The Works lasts some 16 minutes, and fills that time span with a sure and engrossing progression of ideas. The start is murky and mysterious: rolling, repeated quite chords seem to shape almost visual sculptures out of silence. Gradually the music takes on a more overt sense of motion: the second movement ends in an exhilarating display of pure virtuosity, without violating the narrative quality in the music that sweeps us along from the start. This is sure, intense, original music…[Alan Rich, LA Weekly, Aug. 19, 1994]20

The Vine Sonata was quite a find, loaded with computer-like blips and virtuosic storm clouds, and Harvey handled it brilliantly. A major cult could develop around this guy once word gets out. [Richard S.Ginell, American Record Guide, May/June 1994]21

The Piano Sonata No. 1 is music that stands alone and demands repeated hearing for its brilliance, energy and inventiveness. [Laurie Strachan, The Australian, Sept. 4, 1992]22

6

CHAPTER 2

TWENTIETH-CENTURY PIANO TECHNIQUE

For most pianists, twentieth-century music presents a myriad of challenges with

regard to reading, performance analysis, proper technique and memorization. The

commonplace rejection of twentieth-century music among pianists is caused by these and

other unfamiliarities. Being accustomed to the piano music of the classical and romantic

periods, the pianist who studies and plays twentieth-century music may feel that familiar

and comfortable conventions of form, harmony and technique are lacking. Much of this

is caused by the different experiences these various types of music create. Once

performers get over their fear of trying out a new genre, they will most likely be able to

enjoy the variety and excitement of much twentieth-century music.

To play twentieth-century music “in style,” the performer needs to acquire proper

technique and a thorough study of each piece. It is hard to define one general technique

for playing twentieth-century music. Therefore, this thesis will discuss the general

manner in which one may approach, study and memorize twentieth-century music, along

with the technique related to Vine’s Piano Sonata No. 1 and Piano Sonata No. 2.

7

2.1 Approaching the Music

William S. Newman describes the uniqueness of music as an art: “Music is one of

the time arts, unlike the space arts -- painting, sculpture, and architecture -- music must

be brought back to life by a new projection in time on every occasion that it is to be

appreciated.”23 Newman also describes factors in the performer’s understanding of

music, saying that “effective, convincing interpretation presupposes three attributes on

the part of the interpreter: experience, understanding, and musicality or native talent.”24

For the interpretation of twentieth-century music, a pianist needs mostly talent for

understanding, because he or she might not have much experience in the interpretation of

music of this time period. Performers can, however, bring to bear their experience with

music of other periods.

Most pianists’ tackling of twentieth-century music might be a difficult and fearful

process, because they do not possess Newman’s ideal of sufficient experience for

interpretation. Another reason for difficulty is caused by unfamiliarity. Lester points out

that “all tonal compositions share the basic language of harmonies and voice leadings.”25

However, in nontonal music, there are no familiar chords and no familiar harmonies and

progressions. Because these familiar factors are absent, “we may lose our bearings in

terms of expected goals and gestures.”26 However, performers can solve this difficulty

the same way they do with music of other periods. The first step in studying a piece of

twentieth-century music is getting familiar with the piece itself. To overcome the

difficulty of comprehending a new work, it is very important to hear a recording

repeatedly, as Katherine F. Petree suggests.27 For Carl Vine’s Piano Sonatas No. 1 and

No. 2, the composer seems satisfied with the recording by Michael Kieran Harvey.

8

Through listening, the performer will begin to gain a feel for the right “style” of the

piece.

To play a piece “in style,” the performer needs to study and research the piece as

well as hear recordings. As Hofmann mentions, each piece has its own content, which

can furnish the player with knowledge.28 Hofmann describes how “Rubinstein often said

to me: ‘Just play full exactly what is written.’”29 Petree insists in her thesis that “the

performer has a responsibility to understand the composer’s written symbols. If the

performer does not understand them, the interpretive conception that he formulates of the

piece may be a poor one: ‘A faulty foundation endangers the stability of the whole

edifice.’”30

By these means, the performer can obtain the language necessary to accomplish a

successful performance. Hofmann suggests that another necessary factor to achieve this

purpose includes maintaining “careful attentiveness -- and, of course, absorbing -- the

purely material matter of a piece: the notes, pauses, time values, dynamic indications,

etc.”31 Based on this process, performers can develop their own interpretation, which

will make their playing unique and impressive. Newman describes the important role of

the performer in terms of interpretation: “Notation is only implicit rather than explicit,

and a great deal in the matter of taste is left to the performer, even in the music most

scrupulously edited by the composer.”32

In approaching twentieth-century piano music, the performer can explore more

diverse ways of creating the performance than when dealing with pieces of the classical

or romantic periods. Performers can develop their own interpretation of phrasing and

expression. In this process, the performer can indulge in a degree of freedom. Joan

9

Marie Wildman states that the performer “is able to appreciate his or her freedom as an

interpreter, and to explore his or her own creativity as a responsible partner in the

composer-performer relationship.”33 For the pieces of the classical and romantic periods,

the performer can enjoy a wealth of recordings and analyses. Of course, while all

pianists play with their own thoughts and mannerisms, some standards do exist.

Twentieth-century piano music is newer, so there are a lot of uncharted territories to

explore. As Newman states, “With what background and ability he has to perceive form

traits, the student will greatly benefit himself by jotting down in the score whatever he

can find on his own.”34 If the performer enjoys this process, contemporary music should

be easy to approach. Otherwise, there is the danger that contemporary music will remain

difficult and uninteresting to the performer.

2.2 Techniques

Most piano students spend a lot of time in the practice room in order to gain good

technique. Without powerful control over their technique, performers cannot accomplish

a performance of quality or consistency. Hofmann speaks about the importance of well-

developed technique: “As to the remaining ‘purely technical task’, it must not be

underestimated! To transmit one’s matured conception to one’s auditors requires a

considerable degree of mechanical skill, and this skill, in its turn, must be under absolute

control of the will.”35 In clearly stating that technique is not sufficient for good

performance, but rather a foundation required for good performance, Hoffman states,

“Remember that to possess wealth is one thing, to put it to good use is quite another.”36

10

To play twentieth-century piano music, the performer should have the level of

technique required to play pieces of other periods. Twentieth-century music may even

demand better technique, because much of it requires a high level of reading and playing

ability. Also, most twentieth-century piano music possesses a wide range of style within

the piece. Therefore, as Wildman says, the performer “must be equipped to meet

expanded technical demands.”37 As a consequence, the performer should make a greater

effort to master the technical practice necessary for playing twentieth-century music.

Many performers might fear that kind of high-level technique, but it can be accomplished

with proper practice.

Newman suggests five standard drills for all pianists, which are indeed basic:

trills, scales, arpeggios, octaves, and double notes.38 However, Newman points out the

decreased utility of these kinds of techniques for the practice of twentieth-century music:

“These five exercises, practiced in standard rhythms, have one argument immediately in

their flavor. They do repeatedly occur, exactly as they may be practiced, in a great deal

of piano music written from the early 1600’s to the late 1800’s. They are much less

likely to occur, say, in Hindemith, Bartok, or Milhaud, and thus are presumably less

applicable in contemporary music.”39 However, even though these traditional techniques

are less applicable to twentieth-century music, they are still generally mandatory if the

performer is to master many twentieth-century scores. For example, scales, arpeggios

and double notes are the basic techniques necessary for playing Vine’s Piano Sonatas No.

1 and No. 2. A discussion of other techniques needed to master these sonatas follows.

11

2.2.1 Velocity

Velocity is one of the most important techniques required to make Vine’s piano

sonatas sound polished. Velocity is an indispensable element for playing any fast music,

including the Vine sonatas. In these sonatas, velocity is an essential element for making

the pieces energetic. The sections which require proper velocity consist mostly of

continuous scales and arpeggios, quite long passages in both sonatas that remind one of

the fast etudes by Chopin.

To attain the velocity required for performance, the performer should train his or

her fingers to be strong and fast through the practice of scales and arpeggios with fluid

and even running notes. Regarding the strengthening of fingers, Ortmann suggests that

“if we wish to strengthen the finger muscles by practice, the flat-finger position will

exercise them more than the curved-finger position, since they work at a mechanical

disadvantage, each stroke requiring relatively more energy. The force of the descending

finger is the product of its mass and its acceleration.”40

As Ortmann suggests, sometimes the performer needs to apply the opposite goal

of the performance to the practice, for example slow practice for a fast section, or

staccato practice for a legato section. Through this kind of practice, the performer can

maximize the effect of his or her efforts.

Ortmann suggests another practice method for achieving velocity: “It seems that

if the aim of the exercise be speed, an immediate finger-lift (but not excessively high) and

descent are desirable even in slow practice.”41 The performer also needs to practice with

a loud tone for every fast running note to develop stronger finger muscles. At this point,

12

the performer needs a high finger-stroke because this will produce a louder tone than a

low finger-stroke.42

The flat-finger- and high-finger-stroke practices are just a practice to strengthen

the fingers. For the performance, the performer needs curved fingers and a rather low-

finger stroke to play with proper velocity, because a high-finger stroke takes more time to

move the finger.43 Ortmann also explains the advantage of curved fingers for attaining

velocity as follows: “any passage demanding moderate intensity and great speed, if

played with flat fingers, is being played at a decided mechanical disadvantage, and can be

more easily and hence effectively played with curved fingers.” 44

Newman believes that most students can achieve sufficient speed when they learn

to cut out superfluous tension, high finger raising, pounding, and other excesses.45 To

prevent the unnecessary tension that results in slowing down in performance, the unused

fingers should be carried close to the keys and not in a highly lifted position in actual

playing.46 Also, Newman recommends practice using extreme speeds to eliminate

wasteful motion.47

2.2.2 Tone

Ortmann maintains that tone quality is the effect of the finger stroke.48 He also

explains “all differences in tonal qualities must show in the degree of percussiveness and

in the velocity of the finger-stroke.”49 Newman believes four factors influence the

production of tone: degree of legato, the use of the pedals, surroundings of unpredictable

noise and control of the key descent.50 Among these four elements influencing tone, the

control of the key descent is the most important; second would be the degree of legato.

13

To master the tonal requirements of Vine’s sonatas, the performer needs a rather

percussive tone via fast descent and release for the fast sections. To do this, the

performer needs to understand how to produce the proper ‘percussive’ sound. To achieve

such a sound, the performer should consider two elements related it: the degree of legato

and the control of the key descent as Ortmann and Newman outline.

The control of the key descent is related to the speed toward the key bed and the

distance between the finger and the key. Ortmann explains these elements as follows:

“On the physical side all variations in key-movement group themselves into two classes:

those produced by variations in key-speed and those produced by variations in the

percussiveness. In the former, the key is set into motion by starting the descent of the

finger at the key-surface; in the latter, the key is struck a blow by descending finger,

which has already attained a considerable velocity when it reaches the key-surface.”51

Matthay believes that “if the total energy is applied suddenly, then the result is a

‘brilliant’ but ‘short’ tone; whereas, if it is instead applied gradually, then we shall obtain

a true ‘singing,’ or ‘sympathetic’ tone, of good carrying power.”52

If the performer can attain a fast speed towards the key bed, the sound will

become loud easily. However, even in several soft sections of Vine’s Piano Sonata No.

1, the performer needs a fast speed towards the keys to achieve the proper tone quality.

At this point, control of the key descent should be achieved, an action wherein “one must

start on, not above” the key, according to Newman.53 For the fast and soft sections, the

performer should keep the fast speed starting right on the key and create as soft a sound

as possible. Through this process, the performer can achieve a tone with both softness

and clarity, while avoiding a lazy softness.

14

Newman believes that “control of the key descent is possible only in slow music,

but that is where tone production matters the most.”54 However, matters of key descent

are important for effectively playing twentieth-century music, even in fast sections.

Usually, twentieth-century music needs a crisp, percussive touch for fast sections and the

performer needs the articulation created by a very fast, short impact from striking the key.

For creating a percussive sound, the performer does not need much distance

between finger and key. In fast sections, too great a distance from the keyboard can

cause a lot of tension and slow down playing with the unnecessary action that distance

creates. In loud sections, such distance causes a banging sound and cannot create a good

tone that reaches the back of a concert hall. Bernstein explains the reasons a banging

sound results from this type of playing: “1) the friction of your fingers striking the keys;

2) the ‘thud’ of the keys striking against the key beds; and the 3) the noise produced by

the hammers flying too quickly to the string.”55 Bernstein also suggests that the

performer should stay as close to the keys as possible to prevent any banging sound.56 In

Vine’s sonatas, there are many parts where the pianist might be in danger of banging,

especially parts having loud dynamics and climaxes. The performer should realize that a

banging sound does not create a good quality of tone, also loud tone expected to be.

The degree of legato is another factor considered in developing a percussive

sound, and this is a matter of articulation. Ortmann suggests two factors that are

determinants of piano touch: percussion and intensity.57 The sound that is required for

playing the fast sections in both of Vine’s piano sonatas is one with more percussiveness

and a lessened tonal intensity. This “sparkling” tone, as Ortmann calls it, is a particular

tone quality necessary for fully realized performances of both of Vine’s piano sonatas.58

15

Ortmann also describes this kind of percussive tone as a “surface” or “depthless” tone, a

tone lacking in musical quality.59 He also explains that this kind of “dry” tone is

produced to seem “uninteresting or to convey the impression of lack of colour.”60 As

Ortmann says, the percussive tone is not necessary for expressing legato tone quality,

which is needed mostly in playing lines in Vine’s slow sections or in classical or

romantic music. However, in the fast sections of much twentieth-century music, the

percussive sound is essential for effective and interesting playing, and it can also create a

unique coloristic impression. To achieve a properly percussive tone for playing the fast

sections of Vine’s Piano Sonatas No. 1 and No. 2, the performer should initiate the sound

on the key with a high speed descent.

2.3 Memorization

Newman believes that for the performer, “memorizing is the best means of

insuring that the notes get from the printed page into himself.”61 He also says that

“memorizing is an undeniable advantage as well as a convenience to artistic playing.”62

Newman presents several kinds of memory that contribute to secure memorization:

auditory, visual, touch, and intellectual memory.63 He describes auditory memory as “the

kind that enables us to hear what comes next in the music.”64 and touch memory as “the

sort that allows us to play the piece by muscular feel and momentum. In other words, it

is habit.”65 For the memorization of twentieth-century music, auditory and touch

memory, which involve very natural processing for most performers, is not the best

approach. The absence of traditional harmony and structure in this music, extreme

16

changes in musical elements and stylistic innovations, all hinder auditory and touch

techniques in the memorization of twentieth-century music.

Of these four methods, intellectual memory might be the best for the twentieth-

century repertoire, and visual memory may prove helpful as well. Newman writes:

“Visual memory is the kind that leaves us a mental image of the way they look on the

printed page, or, more commonly, the way they look on the keyboard.”66 Visual memory

might helpful for memorizing a rather slow section. For the most part, slow sections are

harder to memorize than fast sections. There might be several reasons for this, including

less practice time given to the slow section than the fast section, or a stronger demand on

the performer’s powers of concentration. Especially in tense situations during

performance, performers can easily lose track of where they are.

While the performer is playing a fast section, he or she does not have enough time

to think about the look of the staff on the page. However, in slow sections, performers do

have time and can be sure of where they are. In order to master the unfamiliar chord

progressions in most twentieth-century music, visual memory can be useful. Much

twentieth-cenntury music does not follow the traditional tonal key system, and its chordal

progressions can contain abrupt changes. The performer should therefore memorize the

harmonic progression chord by chord. In this process of memorization, the performer

can remember the look of the keyboard and the intervals of each chord.

According to Newman, “Intellectual memory is the kind that results from a

knowledge of the music. It is the kind with which the performer can do most on short

notice and without which he will never feel secure. Anything that brings the music to the

performer’s consciousness contributes to intellectual memory, whether it concerns form,

17

tonality, counting, technique, melodic line, or programmatic suggestion.”67

Memorization of twentieth-century music takes two or three times as long if the

performer is using only auditory or touch memory. It is hard to accomplish a secure

memorization by just repeatedly playing the piece. The performer must make an effort to

analyze the piece as an aid to memorization.

To play twentieth-century music in performance, memorization should start at the

earliest stages of practice. As with pieces of other periods, “the student should begin to

play from memory as soon as the habits of fingering, counting, and interpretation are

correctly planted”, as Newman suggests.68 This is stressed due to the difficulty of

memorization and for the efficiency of the practice. Newman points out that “some

players like to memorize the technically most difficult passages as a means of speeding

up their practice.”69 Generally, a work of twentieth-century music has technical

difficulties spread throughout the entire piece and the types of difficulty are various,

such as velocity, the reading itself, or large leaps. Memorizing can be helpful for solving

these problems more easily. The performer should also start the memorizing process

earlier in order to acclimate to the music as quickly as possible. For the purpose of

mastering the piece and its performance, the performer needs to start memorizing earlier

for twentieth-century music than for music in other, more familiar musical idioms.

Because it may prove difficult to memorize the piece before thoroughly knowing

it, the performer can memorize note-by-note and measure-by-measure. Newman

suggests one efficient trick to memorize faster, which involves putting “the music on top

of the upright piano or far enough back on the grand piano that the student has to stand to

refer to it.”70 Newman’s suggestion illustrates how deceptively useful it is to memorize

18

with the music in the music stand, because the performer is not as consciously aware of

what sections need to be stopped and rechecked.

19

CHAPTER 3

COMPARISON OF VINE’S PIANO SONATA NO. 1 AND PIANO SONATA NO. 2

3.1 Form

Paul Griffiths’ entry in the New Grove dictionary defines ‘Sonata’ as “a term used

to denote a piece of music usually but not necessarily consisting of several movements,

almost invariably instrumental and designed to be performed by a soloist or a small

ensemble.”71 As with other genres in music, the definition of the sonata has changed

depending on the historical period. During the classical era, the sonata developed into a

multi-movement form, consisting usually of three or four movements, with specific

characteristics (particularly in the first movement) known as the sonata-allegro form.

Key areas and specific key relationships within the movement and between the

movements of the cycle were usually characteristics of the classical sonata form. During

the romantic period the term ‘Sonata’ was used to refer to a greater variety of pieces in

the classical period, often connected by motivic and literary association. In the twentieth-

century, the use of the term ‘sonata’ decreases and its form is often far from its traditional

form and style.

Vine’s first piano sonata is only a two-movement sonata and is meant to be played

with little or no break between movements. Though the movements lack traditional

20

characteristics of pure “sonata form,” they generally follow a loose ABA structure which

is sonata form reduced to its bare essentials. My analysis of the ABA form is based in

part on larger sections demarcated by double bars, types of writing, and tempo changes or

modulations, rather than on harmonic relationships between sections, or development of

motives within a ‘development section’ of sonata-allegro form. Both the first and the

second movements of Piano Sonata No. 1 result in an arch form, which can create an

overall feeling of presentation of material, followed by a departure and climax, with a

transition back to the opening material.

When breaking down the first movement of Sonata No. 1 based on passage

writing and tempo or meter changes, the following results:

Piano Sonata No. 1, first movement:

m. 1-19 slow introduction with chords, many of them

containing the interval of a fourth, leading into a melody with widely spaced left hand accompaniment

m. 20-49 change of meter and tempo modulations, faster

harmonic rhythm, development of open fourths in melody and chords in right hand

m. 50-79 tempo modulation and changes of meter leading

virtuosic sixteenth note passage with sustained melody in upper voice

m. 80-104 tempo modulation and meter change leading into

presentation of main motive (m. 96) later to be recalled in beginning of second movement. Ending with glissando and forearm cluster separated by double bar

m. 106-147 changes in meter and virtuosic rhythmic writing in lower register ending with accelerando

21

m. 148-160 recall of main motive again ending in glissando and

forearm cluster, double bar and this time returning to the opening tempo

m. 161-193 combination of slow cadential writing and melodic

writing at measure 173 ending with fermata over whole note cluster

In this movement, my ABA sections are based on the double bars preceded by fff

glissando, spanning the entire keyboard and ending in a forearm cluster, development of

virtuosic writing, and return of slow tempo and lyrical writing. Thus:

_____________________________________________________________________

Section A = m. 1-104 Section B = m. 105-160 Section A = m. 161-193

In the second movement measure numbers continue from the first movement, indicating a

sense of connection between the movements:

m. 194-279 sixteenth note virtuosic passage recalling the motive

of m. 96 in first movement. Ends in Molto Rallentando and double bar

m. 280-309 tempo change (lento) and meter change. Sustained

lyrical writing. Accompanied by ostinato chordal pattern ending in free cadential writing and an accelerando back to slightly faster tempo than beginning of second movement

m. 310-343 return of opening material, developing into new

material, ending in tone clusters and double bar m. 344-388 development of fast sixteenth note passage writing

culminating in climax at measure 388 ending in double bar and change of meter

22

m. 389-415 beginning of second climax starting at low dynamic

level (pp) and utmost lowest register of keyboard and making its way to the uppermost register in measure 414 marked ffff

m. 416 return of first movement opening material, ending in

slow tempo (Morendo al fine) and pppp

The ABA sections in this movement are much clearer in that the B section departs from

virtuosic writing completely, and the return of section A corresponds with the opening

material in the first section A. Double bars also serve to demarcate larger sections within

the movement. Therefore:

_____________________________________________________________________

Section A = m. 194-279 Section B = m. 280-309 Section A = m. 310-421

The first movement of Vine’s Piano Sonata No. 2 consists of two parts, preceded

by a rather long introduction.

m. 1-28: Introduction. Short prologue and a freely unfolding

arpeggiated section, ending with double bar m. 29-78 rhythmic, driven passage, dynamic level from p to fff

toward the climax. Ending with this texture and pp with double bar

m. 79-106 recalling same material from measure 29, ending with the

expansion of climax with double bar m. 107-130 free-fantasy style writing, recalling melodic material from

climax in measure 55

23

m. 131-194 tempo and meter change, texture distinctive from that of the former section, freely moved melody on ostinato-figuration

In this movement, my AB section is divided by clear distinction of writing style and

texture.

Thus:

_____________________________________________________________________

Introduction = m. 1-28 Section A = m. 29-130 Section B: = m. 131-194

Like the first sonata, measure numbers continue and the two movements are strongly

connected by the indication ‘quasi attacca.’

m. 195-233 Introduction. Short prologue and rhythmically developed and expanded section, ending with double bar line

m. 235-293 relentless sixteenth-note figuration, full of energetic mood

via cross-rhythm technique m. 294-342 sixteenth-note figuration in left hand, right hand plays

melody freely m. 343-364 return to the material from measure 258 m. 365-423 tempo change, repetition of slow and fast figuration

without any transition m. 424-443 return to the material from measure 235 m. 444-489 texture becomes thick via continuous arpeggiation and

chordal progression toward climax, ending with the big chords (ffff)

24

The second movement of Piano Sonata No. 2 is an arch form preceded by an

introduction. The material of section A returns after new material presents.

Therefore:

_____________________________________________________________________

Introduction = m. 195-233 Section A = m. 235-364 Section B = m. 365-423

Section A = m. 424-489

3.2 Style

Carl Vine composed Piano Sonata No. 1 in 1990 and Piano Sonata No. 2 in 1997,

making both pieces true late twentieth-century music. From the beginning of the

twentieth century, piano music started a new phase, with radical and totally new stylistic

developments. Most composers in this period tried to create new challenges in technique

and in their methods of composing. As a consequence, piano music has become very

diverse, sometimes reaching extreme boundaries of compositional methods.

Compared with other trends in twentieth-century piano music, Carl Vine’s two

Piano Sonatas represent rather less radical twentieth-century piano music. Except for the

ambiguous tonality and a few sections that possess a pointilistic method, these pieces

sustain a romantic atmosphere for their durations. That is the reason why Carl Vine gives

the instruction to avoid any romantic interpretation at the beginning of Piano Sonata No.

1.

The first half of the first movement of Piano Sonata No. 2 is especially redolent of

a romantic atmosphere. Its texture, which is rather simple, consists of an accompaniment

25

by an arpeggio or scale figuration and a monophonic melody. The melody is extracted

from the many continuous notes by accents or longer note values, a particular

characteristic of Carl Vine’s style that also appears in Piano Sonata No. 1. Alternately,

the right hand plays the main melody and the left hand plays accompaniment during

extended periods in some sections. This kind of traditional texture is not seen in the other

movements of Carl Vine’s sonatas. The aural effect of this texture creates sounds that are

much closer to a piece of the romantic period.

The style of the accompaniment, which consists of mostly rather long

arpeggiations or scale figurations, recalls Ravel’s style. In the last half of the first

movement of Piano Sonata No. 2, one can find structural similarities between Vine and

Ravel, especially in the second movement of Gaspard de la Nuit. Both contain a

repeated ostinato figuration, a melody and sustained harmony in the low register notated

on the three staffs notation.

The second movement of both Piano Sonata No. 2 and Piano Sonata No. 1 have a

similar percussive, driven and energetic style.

Carl Vine’s melodies in Piano Sonata No. 1 do not attempt to sound too extreme,

nor do they attempt to sound like a traditional tonal melody. The music is like jazz and

café music, and very lyrical in the slow section as well as featuring a very exciting and

scherzo-like melody in the fast section. There are several unique characteristics in the

compositional style of his Piano Sonatas, and these will be discussed next.

26

3.2.1 Repeated Patterns

Vine uses repetition as a compositional technique in all movements of the two

sonatas. At the beginning of Piano Sonata No. 1, Vine uses an ostinato pattern in the left

hand accompaniment and this pattern consists of scales and repeated rhythms. Starting

with this beginning section, Vine frequently uses repetition of melodic, rhythmic and

whole sections throughout the sonata. He also employs rhythmic repetition with melodic

transformation. A small rhythmic segment is repeated continuously as the melody and

harmony change and develop toward a high spot or climax. Vine exploits the effect of

repetition to help create mounting tension and a fully developed climax. Figure 3.1

shows an example of repeated rhythmic pattern with the transformation of melody and

harmony.

27

Figure 3.1 Vine Piano Sonata No. 1, 1st mov. m. 34-39

There is also repetition of a small melodic fragment, as well as sequencing. These

kinds of repetitions constitute the main style of this piece. Figure 3.2 is an example of

sequencing.

28


Overuse of repetition can easily tire the listener. Vine avoids this pitfall by not

overusing the exact same figure, and by creating tonal variety with a very rich and

diverse harmonic progression. This technique creates a dramatic climax. In a few

sections, Vine’s simple repetition of the motive produces a more obviously twentieth-

century music style. In those sections, a rhythmic motive is more noticeable than

melody. As mentioned in Chapter 1, this kind of style is a trend in twentieth-century

music. Figure 3.3 and 3.4 show repetition of rhythmic motive as well as melody.

29



30

One can also find repeated patterns throughout Piano Sonata No. 2. In the fast

section of the first movement of the Sonata, the left hand part mostly repeats the

figuration of arpeggios and scales. Vine often uses exact repetition of the arpeggio, scale,

measure, and the melody itself. From measure 29, there is a section containing

arpeggiated figures without pedal. The sonority of this section is Vine’s characteristic

style: dry, percussive and driven. In this section, the same arpeggiated chord is repeated

continuously and the melody line is extracted from that figuration. Figure 3.5 is an

example of this characteristic style.

Figure 3.5. Vine Piano Sonata No. 2, 1st mov. m. 30-33

As with Piano Sonata No. 1, the repeated rhythmic pattern with the melodic

transformation can be seen in the slow section, too. From measure 131, the texture has

three staffs and the repeated rhythmic pattern becomes an ostinato. Figure 3.6 shows the

texture:

31

Figure 3.6. Vine Piano Sonata No. 2, 1st mov. m. 147-150

The second movement of Piano Sonata No. 2 has repeated patterns, similar to

those of Piano Sonata No. 1. The pattern is repeated with small fragments or motives.

The ambiguousness between melody and accompaniment, along with the driven rhythms,

make this piece very energetic and active.

3.2.2 Accented Main Melody

Vine uses many accents in Piano Sonatas No. 1 and No. 2. There are two kinds of

accents: one is dynamic, in which the note is played louder; the other is agogic, in which

the note is played longer.72 In Carl Vine’s piano sonatas, most accents need to be played

as dynamic accents. The accents have an important role in creating tonal effects such as

percussive sound. Accents also aid in performance by giving direction for the performer.

Compared to most piano music of the classical period, Vine’s Piano Sonata No. 1 does

not provide an easy way to grasp the main melody and its accompaniment at first sight.

32

Vine clearly signals melodic notes via the use of accents. In a series of continuous linear

progressions with many notes, accented notes are the melody and the other, non-accented

notes create an accompaniment. This style of composition is very characteristic of Carl

Vine and it creates a dramatic and energetic mood. Figures 3.7 shows the main melody

by accents.


A linear progression by continuous notes is also one of the styles of Piano Sonata

No. 1. Except for a few short sections and accompaniment in the slow passages, Carl

Vine does not use chordal progression. Melodies consisting of a single note line can be

seen often in Mozart’s and Beethoven’s piano sonatas. The difference is that Mozart and

Beethoven separated the main melody and the accompaniment between the hands.

In Piano Sonata No. 2, one finds more chordal progressions than in the first

sonata. Vine uses chordal progression in the section which has an ostinato-figuration,

also chordal progressions in the right hand. Greater use of harmonic progression in Piano

Sonata No. 2 gives the piece sounds on a rich, big scale (much like a romantic period

piece). Figure 3.8 provides an example of using chordal progression in the right hand.

33


As well as the compositional devices outlined above, accents help the performer

to play more easily. In some fast sections, there are hundreds of continuous notes to be

played without almost any rest in either hand. Most performers cannot play every note

with the same power because this causes serious tension in the forearm. The performer

can, however control the balance of power between the accented and non-accented notes.

Here, the performer should play the accented notes with free-fall technique.

34

Most of the accented notes should be played with appropriate tone quality. In

accordance with Vine’s statement at the beginning of Piano Sonata No. 1, the accented

notes should be played with a rather percussive sound, with fast and short attack.

3.2.3 Characteristic Section by Pointilistic Method

Vine uses a linear progression frequently throughout Piano Sonata No. 1. In

measure 52 to measure 72, this linear progression moves in wide-interval resulting in a

wide-register. To use an analogy from painting, the style of the progression is

impressionistic. Many notes are spread across all registers and the wide variety of points

and accents create the unique mood of the section. To the audience, this style is not only

new, but very attractive, because of its energetic concentration. There is also a section

having the same style at the beginning of the second movement of Piano Sonata No. 1.

This kind of style makes Piano Sonata No. 1 recognizable as twentieth-century

music. In Piano Sonata No. 2, a pointilistic method is on display but for a very short

period, from measure 263 to measure 266. In its place, the abrupt mood change

accomplished by the short contrasting phrase and the rest between the changes make the

sound of Piano Sonata No. 2 more like that of twentieth-century music.

3.2.4 Contrapuntal Technique

In Piano Sonata No. 1, the distinction between the melody and the

accompaniment is ambiguous with the exception of a few sections. However, it is not a

strict contrapuntal structure like Bach’s. The accompaniment’s role is to support the

35

melody, and it also has its own simple melodic figuration. Figure 3.9 shows an obvious

contrapuntal structure.

Figure 3.9 Vine Piano Sonata No. 1, 2nd mov. m. 210-211

The bass line of the left hand (C sharp-D-E-F-E-D) supports the melody of the

right hand by contrary motion. This small figuration is repeated several times without

any diversion. Therefore, it is hard to conclude that this figuration is another melodic

line; rather, it is another linear progression to go along with the melody.

Piano Sonata No. 2 also provides an example of this style (see Figure 3.10).


36

The bass line of the left hand (A-C-B-B flat) goes along with the right hand,

which consists of a dense chord.

3.2.5 Piling up Notes by Pedaling

Linear progression, as mentioned above, is a stylistic characteristic of Vine’s

Piano Sonata No. 1. In spite of this characteristic, his Piano Sonata No. 1 is not dry but

has rich resonance. Vine creates this style by the use of long pedaling -- most of the time

it lasts for one whole measure -- pedaling the first note or octave of each measure in the

low register and using the middle pedal for the slow section. The damper pedal is held

down, as Harrel describes its purpose, for “mixing timbres and sonorities.”73 In the fast

section, the linear progression with its fast and continuous notes and the beat of the first

note in each measure gives the section a very rich, dramatic, and energetic atmosphere.

Compared to Piano Sonata No. 1, Piano Sonata No. 2 does not have that much

pedaling, especially in the second movement. The second movement of Piano Sonata

No. 2 has a linear progression, but it mostly sounds dry without pedaling. Chordal

progression enriches the sonority without need of pedaling.

3.2.6 Extreme Contrast

Vine uses extreme contrast in register, articulation, dynamics, and moods within

one movement or within short periods in Piano Sonata No. 1. This type of extreme

contrast creates the abrupt change of atmosphere that is one of the characteristics of

twentieth-century piano music.

37

Figure 3.11 provides a good example of an extreme contrast of register in the last

two measures of this piece.


While the lowest B is held by the left hand and pedal, the right hand plays the

highest C. Also, the Lento section in the middle of the second movement has a

continuously repeated chord in the very low register and a sparkling melody in the very

high register. The contrast of articulation gives various colors to this piece and it makes

for dramatic changes of atmosphere. Vine gives an exact pedaling indication throughout

the whole piece. Most of the pedaling is either very long or, conversely, no pedal is

indicated for rather long passages. The pedaling amplifies the effect of articulatory

contrasts in the piece. In some sections which do not use the pedal, the performer should

play every note with very fast and precise articulation. With this kind of articulation, the

performer can bring to life the percussive pointilistic sound that makes this piece very

attractive.

38

Vine employs a wide range of dynamics in Piano Sonata No. 1. For sections with

no pedal and dry articulation, the customary dynamic marking is ppp. Otherwise, the

dynamic marking fff is used for the section, which uses long pedaling for a fuller sound.

The middle section of the second movement of Piano Sonata No. 2 has a contrast

in rhythmic values. A similar style can be found in measure 161 of the first movement of

Piano Sonata No. 1. Figure 3.12 shows an example from the first sonata; and Figure 3.13

shows an example from the second sonata.


39


These sections create unpredictable progressions with repetition of fast and slow

figurations. To use Petree’s description: This kind of “strikingly different character and

tempo following one another with virtually no intervening transitional material” creates

the “abruptness of the changes from one character to another” found in twentieth-century

music.74

40

CHAPTER 4

PERFORMANCE GUIDELINES

4.1 Piano Sonata (1990)

As Michael Harvey describes it, the biggest challenge in playing Piano Sonata

No.1 is the inter-relationship between disparate tempi. Most of the time, the tempo is

changed when a new section or atmosphere occurs. Petree states that “modifications of

tempo that have become conventional within movements are most often for the purpose

of clarifying the structural components of the form.”75 Therefore, the performer should

create the proper mood for each section when the tempo is changed. Carl Vine gives

very detailed and specific of tempo directions. Petree suggests the performer should

follow the metronome markings by the composer for proper interpretation and as an

excellent starting point.76 From the earliest stages of practice, the performer should

confirm those tempi with the metronome and try to become accustomed to those tempi

for the performance.

Vine’s first piano sonata was recorded by Harvey in 1992 and by Sergei Babayan

in 1998. Both recordings obtained rave reviews from the composer even though they

were played at different paces. Sergei Babayan played much faster than Harvey;

personally, I prefer Babayan’s playing. A faster tempo makes Vine’s sonata more

41

energetic and dramatic; in other words, a faster tempo fits more with Vine’s characteristic

writing in the first sonata. Even though Harvey gave more attention to Vine’s indication

for tempi than did Babayan, Babayan’s style fits the first sonata better.

4.1.1 First Movement

4.1.1.1 Ostinato

The first slow section (from measure 1 to measure 12) has three voices; a clear

melody, accompaniment by chordal progression, and a very low chord sustained by

sostenuto pedal. The chordal progression is repeated creating a harmonic ostinato. A

right hand melody unfolds over this ostinato and develops into one big phrase.

4.1.1.2 Pedaling

Until measure 12, Carl Vine gives only the indication ‘con pedal’ for the damper

pedal. This means that Vine gives responsibility for the handling of the damper pedal to

the performer. In my opinion, one should provide clear damper pedaling for each chord

in the left hand, because the four chords create dissonant sound by chromatic progression.

Figure 4.1 shows the four chord chromatic progression.

42

Figure 4.1 Vine Piano Sonata No.1, 1st mov. m. 1-4

In the beginning section, the main challenges are voicing and the handling of the

sostenuto and damper pedals. One should understand the exact usage of pedaling. Vine

gives clear directions indicating the point at which the sostenuto pedal should be

depressed. Indication appears after the very first silently depressed chord, and before the

first sounds of the A and E dyad. The silently depressed chord is notated with a

diamond-shape. This chord can be played by the left hand or by both hands and

“provides specific timbre for the rest of the note-group”, according to Wildman.77

One can effect great change, from dry sound to rich sound, with pedaling from

measure 142. One should use no pedal until measure 142, although one can use the short

pedal for the accented notes to help make richer sounds. Figure 4.2 shows the

recommended pedaling.

43

p p p p


Measures 173 to 187 are reminiscent of the beginning of the first movement. In

the left hand, a figuration similar to ostinato is repeated, and a flourishing melody is

played in the right hand. Also, the first note of each ostinato-like pattern, which is held

via the sostenuto pedal, has the same effect as the first note of the left hand pattern of

measure 1. One should be more careful in using the sostenuto pedal because it is

changed every two measures. Similar to the beginning of the first movement, the

sostenuto pedal is used in conjunction with the damper pedal. The sostenuto pedal

should be put down first, followed by the damper pedal. If these two pedals are activated

at the same time, sounds might be messy.

4.1.1.3 Voicing and Phrasing

Obviously, the top voice is the melody for the first 12 measures. One should

make a clear and long-breathed melody for the top voice and also feel the progression of

ostinato. The section from measure 20 to 49 starts with a more moving figuration in both

hands and it reaches to the sub-climax with ff in measure 46. The main challenge for this

section is voicing and phrasing. Vine gives specific accents to the melody notes for the

44

voicing. Basically, one can find the main melody when he or she follows these accents.

Vine uses continuous pattern and gives accents for the notes comprising the main melody

from the continuous and repeated pattern. It is like an extraction from the continuous

figuration.

Most twentieth-century music has a phrasing structure that is different and more

variable than traditional phrasing. Variety is more dependant on the performer in

twentieth-century music than in classical music. In other words, twentieth-century music

can turn out very differently depending on the musicianship of the performer. One

should find and try various styles and decide which one should be taken. Also, one

should realize exact phrasing for small to bigger phrases for both hands. Figure 4.3

shows recommendable phrasing for small fragment.


45

One should know what and how the figuration is repeated and decide which notes

can lead the voicing. In other words, the performer can find and try various possibilities

for the voicing of the sub-melody. The following is an example of such possibilities.

Figure 4.4 Vine Piano Sonata No.1, 1st mov. m. 73 - 75

Carl Vine does not provide any accents for the melody, which he wants to hear

more in this section. Even though he or she does not bring it out loudly, the performer

needs to think of the leading voice for more expressive performance. Figure 4.4 shows

various possibilities. The first is voicing every first note of three sixteenth-notes group;

D#-D-C#. The other case is voicing every last note of three sixteenth-notes group; G#-

A#-B-C. The player can also use a combination of those two lines.

For the rhythmic, driven section from measure 105 to 160, one needs to produce

good phrasing. The phrasing is necessary for both musical and technical reasons. The

performer tends to focus on the technical parts when he or she practices this kind of

passage. Once one approaches from the standpoint of musical analysis – phrasing and

melody first – he or she can play much more easily. The phrasing of this section usually

consists of two or four measures and those are often repeated. One should feel the

46

velocity within those small phrases, also, one can create the feeling of the development of

climax by dynamic progression with this phrasing concept.

4.1.1.4 Tempo

The first movement has a 4/2 meter until it reaches measure 50. One should have

a half note as a basic pulse, but should also feel the subdivision of one half note including

two quarter notes. Vine gives a tempo marking for this section: half note=48. Harvey

played this section very slowly and steadily. To keep a very steady tempo, one needs

subdivision of the half note. However, it should not affect the general shape and flow of

the melody. In many places from measure 173 to 187, the left hand figuration does not

line up exactly with the right hand melody because the right hand has duple rhythmic

group while the left hand has triple rhythmic group. One should analyze exact timing in

the score before practicing. The following example shows the timing of measure 173.

Figure 4.5 Vine Piano Sonata No.1, 1st mov. m. 173

47

One should practice very slowly with the score until both hands get used to the

timing. In comparison with the left hand, the right hand has many notes and this might

cause an unstable rhythmic feeling. Successful performance depends on each

performer’s playing the right hand melody with more freedom or playing with very stable

feeling and very even left hand timing. In my opinion, the latter is better because if one

plays with more freedom, the piece might sound rather romantic. Vine elucidates in the

first page of the score published by Chester Music, “Tempo markings throughout this

score are not suggestions but indications of absolute speed. Rubato should only be

employed when directed, and then only sparingly. Romantic interpretation of melodies,

phrases and gestures should be avoided wherever possible”. According to Vine’s

intention, one should play this section with strict rhythmic impulse. In this section, one

needs rather light and bright articulation for the melody in the right hand. Most of the

fast scale progression in this section can have the effect of shiny watery sounds via light

articulation.

4.1.1.5 Divisi

Measures 13 to 19 move more toward climax even though they keep a structure

similar to the first twelve measures: one long melody and an ostinato-like accompaniment

pattern. This pattern is repeated seven times in the left hand, has triplet figures, and leaps

throughout the wide range of registration. The expansion of vertical and horizontal make

this section move forward and give it broad feeling. The melody in the right hand should

keep one long breadth. Both hands should divide the figuration in the left hand because it

is played throughout a wide register. The following example shows recommended divisi.

48


One needs to divide the figuration in measures 164 and 165 by both hands as the

performer might have difficulty in moving his or her hands; both move in the same

registrer. The following example shows recommendable divisi.

Figure 4.7 Vine Piano Sonata No.1, 1st mov. m. 162 – 165

4.1.1.6 Memorization

Another challenge for the section from measure 14 to 19 is memorization. This

kind of figuration in the left hand is hard to memorize naturally. One should memorize

49

the left hand alone and think of it as another melody line. Also, one should remember all

notes by their position and by which hand is playing.

From measures 34 to 45, the right hand has continuous dotted quarter notes and

this makes rhythmic confusion with continuous quarter notes in the left hand

accompaniment. Also, the right hand rhythm is changed the pairing of dotted quarter

note and quarter note from measure 46 to 49. This kind of rhythm is not hard for the

hands to play separately, but it causes confusion when it is played with both hands

together and with memorization. For stable memorization, one needs to practice with

hands together rather than separately. One should notice which right hand note is lined

up with which left hand note without using the score. Obviously, visual memorization is

helpful for this section.

Vine’s most characteristic section in this sonata follows after the sub-climax.

From measure 50 to 54 is a bridge leading to this section. From measure 55 to 72, top

voice is the main melody and is surrounded by accompaniment with continuous sixteenth

notes. The technique of this section’s composition is like an impressionistic painting.

Vine put each note in a different spot with rather wide intervals and this whole texture

makes for the very unique style of this section. In terms of technique and sound, this

section contains the most progressive twentieth-century music style in this sonata. This

section is the most difficult to play and memorize. It takes more time to get every note

right and play in tempo. One needs to memorize note-by-note and measure-by-measure.

In other words, one must memorize the first measure completely and then add the next

measure. For more effective sounds, one should play sixteenth notes very evenly with

detached articulation.

50

4.1.1.7 Building Climax

For the sub-climax in measure 45, Carl Vine uses pp- mf- ff and expansion of

rhythm and registration. With these three elements for expansion, Vine makes a beautiful

and dramatic sub-climax. One should think of this big structure for the section ranging

from the beginning to measure 49.

Measure 73 starts the journey to the climax, which is completed in measure 160.

The main writing style for this section is repeated figuration, which consists of small

notes or measures. From measure 73 to measure 80, the main melody has accents on it

and the register of each hand is broadened. From measure 92, the dynamic is quite loud

and two main melodies make thicker structure. The melody moves to the left hand in

measure 100. In measure 104, Vine provides a device that is fun to play: the left hand

forearm cluster. The forearm cluster was innovated by Henry Cowell in his own

composition, The Tides of Manaunaun, in 1912.78 Figure 4.8 shows Vine’s forearm

cluster.


51

This chord via the forearm cluster, which is accomplished by glissando through

the wide registration, is the top and the climax of the speedy and driven passage. When

the performer plays this chord, the audience is likely to feel a sense of real arrival and

satisfaction. One should move the weight of body to the right side and realize the exact

range of the chord.

After the forearm cluster, a murmuring section follows. This section, from

measure 105 to measure 141, consists of continuous sixteenth notes grouped in terms of

four or three notes. By this grouping, the tension, unstable feeling, and forward motion

to climax occur. The performer should recognize this grouping and feel the driving

motion.

4.1.1.8 Practice for Velocity

To accomplish the most dramatic climax, one should focus on making proper

velocity. He or she does not have to speed up, but should keep a tempo which is not

slower than the quarter note = 144, per Carl Vine’s direction in measure 80. To keep the

right speed and bring out every note for the main melody extracted from the repeated

figuration, one should have fast and strong fingers. It is related to a rather basic

technique for the performer, it is also a demanding technique for playing most twentieth-

century piano music. Because many pieces of the twentieth-century are composed of

driven rhythmic progression and not only focus on the melody, one should practice the

basic scales and arpeggios with a firm and strong finger. Also, he or she should practice

faster than in tempo. When one tries to practice faster, this should be done in small

52

increments. In the beginning step of this practice, one should accomplish one segment

perfectly and then go on to the next, and not think about too much about the big phrases

or structures. It is important to make sure the fingers get every note exactly.

From measures 105 to 147, one might get tension in both hands easily because

continuous sixteenth notes in this section progress with third, fourth and fifth intervals

and chords with octaves. Generally, chordal parallel progression is one of the hardest

techniques to play. Also, there is almost no rest and it has quite a fast tempo; the quarter

note = 132. One should play with sharp and angular feeling rather than round feeling for

the best effect in this section. To accomplish this effect, one should practice chord by

chord with a very quick snap. At this point, one needs very strong fingers and firm hands

with relaxed wrists.

4.1.1.9 Tone Quality

Measures 148 to 160 are the exact repetition of measures 92-104. This repetition is

followed by a rhythmic, driven section, so it can be played with a feeling of stronger

emotional development. After the climax in measure 160, there is a transition; the

Tempo Primo section leads into the ending section and has a tempo marking; the half

note = 48, which is the same as the beginning. The transition section has a mood

contrary to that of the former section. It is like the static scene after a storm, using a very

quiet and reminiscent sound. This section has a few harmonies by accumulative notes

that should be played fast and clear. Figure 4.9 shows one of the harmonies. Every note

in Figure 4.7 should be very articulated and played evenly.

53


Also, one should recognize exactly which notes should be held for the harmony.

Figure 4.10 shows the notes that should be held.


54

In measures 167 and 168, thirty-second-note groups should sound like single

strokes of the guitar or harp. Figure 4.11 provides an example.


To play clearly the thirty-second notes in measure 188, one should find the

appropriate position for both hands because both hands are overlapping in the same

register. The left hand should be far enough from the right hand to give enough room to

the right hand to play all the notes, and should be close enough to the keyboard to play

accented notes with fast, strong articulation.

4.1.2 Second Movement

The beginning of the second movement reminds one of the third movement of the

Piano Sonata in B-flat major by Chopin, because the texture is similar. Both hands are

playing the same note with an interval of octaves and the figuration is continuous without

rest.

55

After playing the first movement, the second movement can be played without a

break. The very last harmony in the first movement has a fermata. After playing this

very last note, the performer should not move; he or she should stay until the first note of

the second movement is prepared technically and psychologically. While the last

harmony is held by pedal, one should move both hands quietly and slowly to the first

note in the second movement. Once one is ready for this first note, he or she should lift

the pedal and create a short break before the second movement. This motion can connect

the first and second movement without losing the intensity of mood. Also, this method

makes it easy to start the beginning of the second movement; the first eight measures of

the second movement consist of continuous sixteenth notes in both hands and there is no

rest. Figure 4.12 shows the beginning of the second movement.

Figure 4.12 Vine Piano Sonata No.1, 2nd mov. m. 194 - 195

4.1.2.1 Practice for Velocity

The figuration in measure 194 is difficult to play without mistakes and creates

both muscular and psychic tension for the performer. This section has quite a fast tempo

56

marking; the quarter note = 120. Therefore, most of the practice is designed to get

appropriate speed between notes. One can practice these sixteenth notes as two-, three-,

four- and five-note group, etc.

From measure 202, the right hand has a new melody line and the left hand has a

pattern similar to the former section. Even though it is a similar pattern, the figuration in

the left hand in this measure is harder to play than in the former section. This might

happen when one does not practice enough with the left hand separately. From measure

194 to 201, the left hand can be played more easily by depending on the right hand. For

confident and mistake-free playing, one should practice as if the left hand leads the right

hand.

Measures 308 and 309 provide a transition to the next section, which is the same

as the beginning of the second movement. This passage should have appropriate velocity

and rich tone, which broadens the feeling to the next entrance. To play the fast

figuration, one needs to practice every note with very strong and clear articulation and

train each finger to have enough tone. One should practice first and second notes with

full sound and as fast as possible and then add the third note, and so on. This kind of

practice can bring all notes clearly when it is played in tempo. In this section, the fast

figuration should be played clear, not as a tone cluster or as muddy sounds.

In measure 401, the right hand has an arpeggio figuration, which should be played

with a big crescendo and good velocity. Figure 4.13 shows the arpeggio figuration with

big cresecndo.

57



The section from measure 194 has the dynamic marking ppp. It is easy for the

performer to get tense when he or she plays fast and soft. One should relax completely

and use light and bright articulation to make the sounds all the more pointilistic. One

needs a fast, shallow and detached touch rather than deep and legato articulation.

The Lento section from measure 280 has a texture similar to the slow sections of

the first movement. The main melody is accompanied by an ostinato figuration. The

ostinato figuration has a sub-melody role, unlike those in the slow sections of the first

movement. Also, it is brought out more naturally because of the higher registration. One

needs to bring out the top voice of the ostinato figuration, and the sounds of the rest of

the harmonies must not be too weak.

In this section, ostinato is in higher registration than the melody, which differs

from the former, similar section. The melody, in rather low registration, itself creates

deep and appealing moods. It sounds like a cello, and changes with the very high,

piccolo-like sounds in measure 304. Sounds change by change of the registration

naturally. However, one should recognize this change exactly and use appropriate 58

articulation for each place. The melody from measure 287 to measure 303 sounds like

the romantic period’s piano music that needs a rich and resonant tone. Meanwhile,

measures 304 to 309 sound more like twentieth-century piano music, which needs fast,

light and bright articulation with appropriate velocity. The melody from measure 304 has

more leaps than scalar motion.

The sounds of the section from measure 389 to measure 408 are rumbling and

ambiguous. The sound itself is like a big lump of resonance, even though the performer

plays a lot of notes by continuous pattern. The performer does not have to play this left

hand figuration too clear, but just needs to have enough sound. The left hand should have

less than the right hand. Because the left hand has many notes, it is easy to overpower

the right hand melody. The performer should be careful to give the left hand less volume

than the right. For some right hand chords, one needs to play two notes with the thumb.

The following example shows recommended fingering.

59

1 1 1



If one thinks about technique too much, musical fluency gets stuck in the section

from measure 194. To prevent this kind of problem, one should try to make good

phrasing. The following example shows recommended phrasing. 1 1 1

60


In measure 202, if the performer concentrates too much on doing a line up of both

hands, the melody might not be smooth enough. Vine designates this section as ‘in

relief’. To get this effect, the melody line should be played smoothly and evenly. Before

playing both hands, one needs to play the right hand alone with a sense of fluency and

feel the melody itself.

From measure 210 to measure 219, the left hand figuration consists of arpeggios

via the three-note group. Figure 4.16 shows these arpeggios.


61

In the first step of the practice, one should recognize the pattern of this figuration.

Also, one can bring out the bass line; C-sharp-D-E-F-E-D. This line shows contrapuntal

technique, which is the one of Vine’s characteristic composing styles in this sonata.

From measure 246 to measure 279, the main challenge for the performer is fatigue

in the wrists. Both hands are playing relentless sixteenth notes. For the right hand, it is

important to control the accented main melody and fill up notes. To bring out the melody

notes, one should give the weight of the hands to these notes through the use of a rotation

motion. In this section, fingering 3,4 and 5 are recommended for the main melody.

Figure 4.17 shows recommended fingering.

5 5 5 4 5 5 5 3 4 5 4

Figure 4

B

use free

weight o

T

and arpe

5

4

.17 Vine Piano Sonata No.1, 2nd mov. m. 246-247

ecause these fingers are rather weak and can create tension easily, one should

rotation of the hand. By this technique, one can play a strong melody via the

f the hand.

he left hand has accompaniment of scale figuration from measures 246 to 265

ggio figuration from measure 266 to 279. These figurations should be played

62

very evenly and fast enough. However, not every note needs to be played too clearly.

The pedaling involves one pedal for one measure, so one cannot hear this left hand

figuration note by note in any case. It only needs the effect of resonance. Therefore, one

needs to play with proper velocity and for sonority, rather than focusing on note by note.

For this effect, one needs to have arrival points. The following example (Figure 4.18)

shows these points. One should play this figuration with direction toward these arrival

points.


From measure 318 to measure 337, one can find again contrapuntal structure by

accented notes. Figure 4.19 shows this contrapuntal structure.

63

Figure 4.19 Vine Piano Sonata No.1, 2nd mov. m. 318-321

For the left hand, these accents can help one to play the arpeggio figuration

quickly and easily. The accented notes should lead the figuration of the left hand and the

rest of the notes should be played lightly and with relaxation. One needs to practice this

left hand figuration with the proper balance of weight via a small group. The following

example shows recommended grouping.

64


In measures 320 to 321, the right hand melody should be one phrase with a long

breath. Also, the accented notes should be played using power from the wrists, not from

the fingers. One should be careful to relax the wrists and use whole power supported by

the arm and shoulder.

4.1.2.4 Posture

From measure 198, the hands are quite far from each other in register. One needs

to relax with a pose of wide-open arms, especially when he or she plays the part outside

of the hands.

In measure 266, the left hand has quick arpeggios ranging over two octaves. To

play without fatigue of the arm, it needs to be played with free and relaxed whole arm

movement.

In measure 318, both hands play far from each other. The performer should open

his or her arms wide, but this posture can create tension. Also, this section is fast and

quite loud. With any tension, this section cannot be played clearly with full sound and

65

velocity. One should realize this wide registration, practice the posture with relaxation,

and determine how to reach every note with clarity. For this practice, one needs a free

arm, free shoulder and free torso. This kind of technique is needed until measure 343.

From measure 349 to the 364, one needs a strong fifth finger in both hands in

order to play the main note clearly and loud enough. Also, the posture of the hands is

important. If the hands rotate too much to the outside for a big sound, it is hard to play

all the notes fast enough. Therefore, one needs a strong fifth finger supported by the fifth

knuckle. Then the performer does not need unnecessary rotation of the hands.

4.1.2.5 Pedaling

For the section from measure 210, one needs appropriate pedaling, which Carl

Vine designates as ‘con poco pedal’. The right hand has two voices; one is the melody

and another fills up notes with fifth interval harmony. While one plays this interval, the

melody should be held and this playing can create tension in the hand. Therefore, one

should use the pedal appropriately and help to make legato for the melody line. Until

measure 210, the beginning section of the second movement should be played very

lightly to minimize the tension of the wrists and for good velocity.

From measure 280 to measure 303, Vine dose not give detailed direction for the

damper pedal, only designating ‘con pedal’. One should use the damper pedal by ear and

try many possibilities.

4.1.2.6 Divisi

In the Lento section, one needs divisi between both hands to play easily. In

measure 281, the last chord can be played by the right hand so that the left hand is not

66

busy. The same chords following in this section can be played the same way, except for

the ones in measures 299, 301 and 303. Figure 4.21 shows recommended divisi.


In measure 287, the first melody note, F, can be played by the right hand and it

should be suspended with the hand while the pedal is changed. In measure 289, the last

note in the left hand, C, can be played by the left hand; immediately thereafter, one

should change to the right hand for the same purpose. Figure 4.22 shows divisi.

67

Figure 4.22 Vine Piano Sonata No.1, 2nd mov. m. 285 – 290

From measure 303 to measure 308, one needs to play with appropriate divisi for

velocity in the fast figuration. The following examples show recommended divisi.


68

Figure 4.24 Vine Piano Sonata No.1, 2nd mov. m. 304



69

In measure 342, continuous chords provide the ending of this section. For this

measure, one needs divisi for the full sounds. The following example shows

recommended divisi.


4.1.2.7 Building Climax

Every measure from 338 to 341 has arpeggios and these figurations progress into

the block chord with a big sound. The arpeggios should have good velocity and a big

crescendo for developing the sound each time. It is a style similar to the glissando going

into the big chord in measure 104 in the first movement. Carl Vine uses this kind of style

to obtain a feeling of a big eruption. Figure 4.28 and 4.29 provide examples of this style.

70

Figure 4.28 Vine Piano Sonata No.1, 1st mov, m. 104 - 106



The section from measure 389 to 408 is one of the most difficult sections to

memorize. It is hard to memorize the right hand by itself; it is also difficult to memorize

the right hand’s alignment with the left hand. For the right hand, the performer should

memorize chords by interval and by position of the fingers. For aligning both hands,

there are two possibilities; one is counting the quarter note beat between the chords and

71

the other is remembering the left hand notes that are lined up with the right hand chords.

According to the spots, it is best to try one of these methods. For memorization over long

spans, use the second method; use the first method for the short term between chords.

After several similar passages with a dramatic motion via a big and fast

crescendo, there are progressions by block chords with quadruple forte in measure 414

and this leads to the ending section, which is similar to the very beginning of the first

movement. This short reminiscence of the beginning creates unity across the whole

sonata, and also suggests an arch-like structure. The very last notes in the highest register

are quiet (quadruple piano), and end the piece on a note of ambiguity.

4.2 Piano Sonata No.2

Piano Sonata No. 2 requires almost the same techniques as needed in Piano

Sonata No. 1. The proper velocity for playing scales and arpeggios is the main

requirement for playing both sonatas. One noticeable difference for technique of Piano

Sonata No.2 is need for the strength and fastness especially in the left hand. The first

section of the first movement has continuous, fast running notes for a long period and

reminds one of the techniques displayed in the Chopin Etude, Op.10, No.12.

4.2.1 First Movement


The short, eight-measure introduction almost covers the entire range of the

keyboard. To produce a rich and full sonority, the performer should start the energy from

72

the shoulder and be careful not to make a banging sound. Also, the player should not

focus too much on the top notes.

As mentioned before, the passage beginning in measure 9 reminds one of Ravel.

The continuous, running thirty-second notes from a background, and the melody line is

extracted from that figuration. To make a clear melody line, the player should take

special care over the balance between melody and accompaniment. The melody notes

should have a rich and full tone, and the accompaniment notes less prominent. However,

each note in the accompaniment still needs clear articulation: even though they are

moving very fast, soft and with the pedal, they should create a clear, sparkling sound

rather than a murmur. The melody notes without any hesitation should lead the

accompaniment notes for active and flowing energy for this passage. To practice this

passage effectively, the performer can play each arepeggio as a block chord. Through

this practice, one can find the proper hand position for good velocity with each arpeggio.

Starting in measure 17, there is a contrast with the preceding, very fluent passage.

The new material should be played with very confident timing and feeling. The short

phrase from measure 26 to measure 28 sounds like a memory, or something coming from

a distance. It needs a rather special sound to make the right mood, and the performer

needs very relaxed hands to play with the brush-touch needed for that right effect. Figure

4.30 shows the “distant” melody.

73


The section from measure 29 shows one of the characteristic styles of Carl Vine.

The sounds are very dry and are like water boiling. The passage is rhythmically driven

and repeated pattern is accompanying the main melody without the pedal. The

accompaniment notes do not have to be very clear comparing to the arepeggios from

measure 9 to measure 16, but should have a short articulation and on-going feeling.

The section from measure 68 to measure 78 is a transition between the two of

almost same section. The resonance of this section is very light and sparkling. It is

another section, which reminds of the tone production of Ravel’s style. To produce the

right quality of the sounds for this section, the performer needs very light and fast touch.

The passage from measure 107 to measure 130 also shows a Ravel-like style. The

right hand melody is supported by relentless and flowing scale figuration. In this section,

the left hand produces a shimmering sound, and its resonance especially reminds one of

Ravel. The performer does not need to articulate every note in the left hand but should

play lightly with the good control of the fingertip not to miss any note. Figure 4.31

shows this kind of left hand progression.

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4.2.1.2 Posture

A freely moving left hand is needed for the passage from measure 47 to measure

50. To play the arpeggio of the 10th interval and the full sound of the main melody,

which is played by crossing left hand, the left shoulder and wrist should be totally

relaxed. Figure 4.32 is an example of this figuration.

75


From measure 55 to measure 67, the right hand has the melody by octave

progression with the relentless left hand’s figuration throughout the wide range of

register. This texture makes the sounds like the Romantic period’s piece. The right hand

melody should be played fluently and the left hand should follow the right hand’s

phrasing and timing cooperatively. The left hand in this section is one of the most

difficult sections to play fast and with full sound. The performer needs a flexible arm and

hand and fast motion of the extension and contraction of the hand. Figure 4.33 shows left

hand figuration, which should be relaxed.

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The left hand figuration in measure 51 does not have to be articulated with every

note too clear. However, the first note of each measure should have enough tone to

support the whole measure with resonance. Figure 4.34 shows the low register of the

first beat.


Also, the first notes of the first and third beat can serve as pivots for achieving the

proper velocity of the arpeggiation.

77

The short motive in the right hand in measure 51 has accents in both notes. The

performer should focus more on the first one and the second one should be played with

the remaining power. If the performer tries to make strong accents for both notes or for

the second note, it is easy to gain tension and the performer cannot acquire a sufficiently

full sound.

The first movement of Piano Sonata No.2 is divided into two sections of

completely contrasting styles. The second section is Ravel-like in terms of the texture

and the resonance of the sounds. The ostinato-like figuration, which is in two-measure

phrases, is repeated several times in a period structure, each period having a different

countermelody.

There are three independent voices in measure 147. The performer should

differentiate these three by tone quality and try not to lose the progression in each line.

Figure 4.35 is an example of this texture, with three voices spread across three staves.


78

The countermelody beginning in measure 163 has more fluent and moving

figuration than the preceding section. A similar style of melody and texture can be found

in the Meno Mosso in the first movement of the Piano Sonata No.1 and the Lento in the

second movement of the Piano Sonata No.1.



79


Similar to the first movement of Piano Sonata No.1, the first movement of Piano

Sonata No.2 ends with six measures of epilogue after a few periods of variations based on

the ostinato-figuration. This section is both an ending and at the same time an

anticipation of the next movement. Carl Vine gives the direction quasi attacca for the

ending of the first movement of the Piano Sonata No. 2: having the second movement

follow without pause would create the most intense effect.

4.2.2 Second Movement

4.2.2.1 Pedaling

The prologue of nine measures is similar to the first eight measures of

introduction of the first movement in terms of the style, octave progression, and four

measures phrases. This kind of clear four measures phrasing appears until measure 221,

where the introduction to the second movement begins. The performer can easily follow

this traditional phrasing structure, creating a naturally flowing effect. On the other hand,

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the melody by octave progression is harder to make into a smooth line. Even though

Vine indicates ‘senza pedal’ until measure 216, the performer needs the pedal in order to

connect the top notes of the octave progression.

From measure 327 to measure 334, even though there is no pedal marking, the

performer needs the pedal for the smooth connection of the melody notes and helping to

create the proper sound.


The section from measure 222 shows a characteristic style of Vine. With the

accents and no pedaling, the sounds are very dry, rhythmical, energetic and percussivel.

The chordal progression in the right hand should be played very light and sharp. Figure

4.39 shows the chordal progression in the right hand.


The performer can make this section very effective by playing the accents with

the appropriately percussive tone quality.

81

From measure 233 to measure 266, the left hand has continuous sixteenth note

figuration without any rest. For playing this section, the performer should try not to let

the left hand get tense. Most of the accents are played by the fifth finger. The performer

needs to develop a strong fifth finger by practicing with the accented notes longer and

louder, and rotation movement of the left hand is needed in order to gain enough tone

without any tension.

From measure 258 to measure 266, both hands are playing octaves. This kind of

style can also be found at the beginning of the second movement of the Piano Sonata

No.1.



82

This kind of texture gives the impression of the intense, pointilistic sound−an

obviously twentieth century sonority.

In measure 267, the continuous sixteenth figuration moves to the right hand and

the left hand plays the chordal progression. With the reverse of the figuration between

both hands, the sounds become more vivid and brilliant.

In measure 294, the left hand has repeated figuration, which creates an ambiguous

background with, soft, short, and repetitive figuration. A similar style can be found in

measure 389 of the second movement of Piano Sonata No.1. In Piano Sonata No.2, the

sound is more dry and percussive because there is no pedal.

Figure 4.42 Vine Piano Sonata No.2, 2nd mov. m. 292 – 297

83


The middle section, which starts from measure 365, has a style unique among

Carl Vine’s Piano Sonatas. By structure and texture, it is the most obviously twentieth-

century style. This section is constructed like an arrangement of contrasting passages.

One of these has many fast notes but repeats simple motives, and other passage is mostly

melodic and moves slowly. For this section, Vine indicates “maintain strict tempo

throughout”. To follow this instruction, the fast passage should be played with quite fast

velocity. The fast passage should be played clearly with a light and bright tone, and

every note should be articulated.

The passage from measure 400 to measure 405 is reminiscent of the beginning of

the introduction of the first movement of Piano Sonata No.2.

84



The accents in measure 233 should be articulated rather clearly and then should

get softer after the right hand starts playing the clusters. In memorization, it is hard to

remember the lining up of the hands, because the left hand has the unit of four sixteenth

notes and the right hand has unit of the three or five sixteenth notes. At the first stage of

learning the piece, the performer can count out each sixteenth note beat for the right

hand. After that, the performer should become familiar with the lining-up through

repeated practice. Figure 4.45 and 4.46 show the different rhythmic unit, different in

each of the hands.


85


4.2.2.4 Tone Cluster

The chromatic clusters in measure 254 consist of eight notes within one octave.

Because the left hand cannot help playing part of a cluster, the performer should play this

cluster with the palm of the right hand. Harrel states that “the cluster is probably one of

the most universally-used non-traditional devices in piano music today.”79 Figure 4.47

shows Vine’s chromatic clusters.


86

4.2.2.5 Posture

The section beginning measure 424 recalls the opening of the A section. A rich

and big sound is built up from measure 444 to the climax toward the ending. The driving

motive in the left hand creates a broad sound by the chordal progression at the end. This

motive has vertical intervals of the 10th and 9th. For the most performers with a normal-

sized left hand, it is hard to play this kind of harmonic interval at a fast tempo, especially

without tension. Because Vine uses this motive to create full and rich sound, it is

important for the performer to avoid tension and have the proper dynamic. For this

purpose, the performer should have a very relaxed wrist to freely reach the given

harmonic interval and provide clear recognition for the inner interval, 5th or 6th. The

performer should play this chordal progression with full sonority and at a fast tempo.

Also, because both hands are playing in extreme registers, it is easy to get tension in the

arms. The performer should relax the torso and arm, and use a firm hand position for a

full and clear harmonic sonority.


87

4.2.2.6 6th Parallel Progression and Harmonic Tremolo

The 6th parallel progression in measure 484 and the harmonic tremolo in measure

487 need very fast motion in both hands.



88

These figurations are some of the hardest to play evenly and fast with proper

sonority. The performer needs firm fingers and a firm wrist, and should also stay close to

the keys to get proper velocity. For the harmonic tremolo, the performer should have a

plan as to the number of tremolo strokes, and know ahead of time exactly where the

crescendo and decrescendo should start.

89

CHAPTER 5

CONCLUSION

Vine’s Piano Sonata No. 1 and No .2 have many similar aspects in terms of style,

form and musical practice. In both pieces, one can find Vine’s unique characteristics,

which really fit very well for the piano. Carl Vine makes his two Piano Sonatas very

attractive, with effective melody and driven energy. In his Piano Sonatas, one can find

not only traditional practice but also new compositional methods. This kind of mingling

makes these Sonatas both familiar and impressive to the performer and the audience.

Carl Vine makes his most effective sounds by contrasting tone quality, which is

mostly controlled by pedaling. His Sonatas are also characterized by jazz rhythm, free,

fluent melody, and percussive sections. Therefore, the performer should understand what

kind of tone quality is needed for each section if he or she is to give an appropriately

brilliant performance. To play Mozart, most pianists make an effort to obtain the proper

tone, which is a tone fit for Mozart’s work. Until the performer has the right ability and

knowledge required to produce the proper sound, Mozart’s work are some of the most

difficult music in the repertory.

When the performer approaches contemporary piano music, it is important that he

or she determine the proper tone quality required for successful performance, just as it is

90

important to determine the quality required for Mozart. For Vine’s Piano Sonatas, the

performer needs a very crisp and percussive touch via fast reacting to the keys. Along

with proper interpretation of the Sonatas, the proper tone quality is key for successful

performance.

Many pianists have a prejudice against contemporary piano music, because they

do not know how to play it. Such prejudice comes from a fear of what is new. But with

the exception of the newness, contemporary piano music is the same music as that we

have experienced before. The only difference is the newness itself, thus, the performer

should find the proper approach and creative thought for analysis. Through this process,

contemporary music becomes a more attractive repertoire for the performer and he or she

can give more pleasure to the audience.

91

APPENDIX

DISCOGRAPHY

1) Chamber Music –Volume 1 (Tall Poppies)

Piano Sonata (1990): performance by Michael Kieran Harvey

Reviews;

‘The Piano Sonata of 1990- a work I consider an instant classic- heads off this

collection…a totally absorbing, frequently hang-on-to-your-hat rhythmic drive…

Michael Harvey is brilliant here…’

Stephen Ellis, Fanfare (USA), December 1993

‘(Piano Sonata) is one of the best pieces by Carl Vine that I have heard… (the

works) gathered together produce a remarkably powerful cumulative effect.’

Andrew Ford, 24 Hours, August 1992

2) Sergei Babayan: Piano (ProPiano)

Piano Sonata (1990): performance by Sergei Babayan

3) Studio Recording

Piano Sonata (1990): performance by Caroline Hong

4) Chamber Music- Volume 2 (Tall Poppies)

Piano Sonata No.2 :Performance by Michael Kieran Harvey

92

ENDNOTES

1. OSU, School of music. Faculty Recital Series. Hong Program Note. January 26,

1998. 2. G. Schirmer, Inc. “Carl Vine” May. 1999.

http://www.schirmer.com/composers/vine/bio.html 3. Bebbington, Warren. “Carl Vine” The New Grove Dictionary pf Music and

Musicians. Vol. 26 (London and New York: Macmillan Publishers, 2001), p.660 4. G. Schirmer, Inc. “Carl Vine” May. 1999.

http://www.schirmer.com/composers/vine/bio.html 5. G. Schirmer, Inc. “Carl Vine” May. 1999.

http://www.schirmer.com/composers/vine/bio.htm 6. Vine, Carl. Program Notes. Chamber Music Vol 2. Tall Poppies, 2000. 7. Bebbington, p.660 8. Vine, Program Notes. 9. G. Schirmer, Inc. “Carl Vine” May. 1999.

http://www.schirmer.com/composers/vine/bio.html 10. Vine, Carl. “List of works and

recordings”http://www.amoz.com.au/comp/v/cvine.htm 11. Harrel, Doris Leland. New Techniques in Twentieth Century Solo Piano Music-

An Expansion of Pianistic Resources from Cowell to the Present. D.M.A. Dissertation, The University of Texas at Austin, 1976, p.2

12. Lester, Joel. Analytic Approaches to Twentieth- Century Music. (New York and London: W.W.Norton & Company, 1989), p.15

13. Gramophone. “Carl Vine” http://www.fabermusic.co.uk/fabermusic/cont_composers/c_vine.html

14. Lester, p.4 15. Harvey, Michael. Program Note. “Piano Sonata (1990)”, 1991

http://www.carlvine.au.nu/cgi-bin/cv.cgi?cv=prog&n=Piano+Sonata 16. Tobin, Temmy. “Michael Kieran Harvey: World Class Pianist”, 2002.

http://www.cso.org.au/2002%20Concerts/michael_keiran_harvey.htm 17. Program Note. “Piano Sonata No.2”

http://www.carlvine.au.nu/cgibin/cv.cgi?cv=prog&n=Piano+Sonata+No.+2 18. Harvey, Program Note 19. Harvey, Program Note 20. “Solos and Duos” http://www.carlvine.au.nu/cgibin/cv.cgi?cv=gen&g=soloduo 21. “Solos and Duos” http://www.carlvine.au.nu/cgibin/cv.cgi?cv=gen&g=soloduo 22. “Solos and Duos” http://www.carlvine.au.nu/cgibin/cv.cgi?cv=gen&g=soloduo

93

http://www.schirmer.com/composers/vine/bio.html




http://www.amoz.com.au/comp/v/cvine.htm

http://www.fabermusic.co.uk/fabermusic/cont_composers/c_vine.html

http://www.carlvine.au.nu/cgi-bin/cv.cgi?cv=prog&n=Piano+Sonata

http://www.cso.org.au/2002 Concerts/michael_keiran_harvey.htm

http://www.carlvine.au.nu/cgibin/cv.cgi?cv=prog&n=Piano+Sonata+No.+2

http://www.carlvine.au.nu/cgibin/cv.cgi?cv=gen&g=soloduo



23. Newmann, William S. The Pianist’s Problems (New York and Evanston: Harper& Row, Publishers, 1956), p.91

24. Newmann, p.91 25. Lester, p.6 26. Lester, p.4 27. Petree, Katherine F. performance Practice in the Piano Music of

ArnoldSchoenberg. D.M.A. Document, University of Kansas, 1986, p.14. 28. Hofmann, Josef. Piano Playing with Piano Questions answered

(Philadelphia:Theodore Presser Co., 1920), p.50 29. Hofmann, p.50 30. Petree, p.13 31. Hofmann, p.55 32. Newman, p.92 33. Wildman, Joan Marie. Performance Practice of Aleatory Piano

Music.D.M.A.Dissertation, The University of Oregon, 1977, p.102 34. Newman, p.93 35. Hofmann, p.53 36. Hofmann, p.53 37. Wildman, p.2 38. Newman, p.36 39. Newman, p.36 40. Ortmann, Otto. The Physiological Mecahnics of Piano Technique (New

York:E.P.Dutton & Co., Inc., 1929), p.219 41. Ortmann, p.249 42. Ortmann, p.219 43. Ortmann, p.219 44. Ortmann, p.219 45. Newman, p.44 46. Ortmann, p.249 47. Newman, p.44 48. Ortmann, p.243 49. Ortmann, p.243 50. Newman, p.68 51. Ortmann, p.229 52. Matthay, Tobias. The Act of Touch in All its Diversity (London:

Longmans,Green and Co., 1919), p.50 53. Newman, p.68 54. Newman, p.68 55. Bernstein Seymour. With your own two hands (London: Collier

MacmillanPublishers, 1981), p.99 56. Bernstein, p. 99 57. Ortmann, p.243 58. Ortmann, p.339 59. Ortmann, p.244 60. Ortmann, p.342

94

61. Newman, p.111 62. Newman, p.112 63. Newman, p.112 64. Newman, p.112 65. Newman, p.113 66. Newman, p.113 67. Newman, p.113 68. Newman, p.114 69. Newman, p.114 70. Newman, p.115 71. Griffiths, Paul. “Sonata” The New Grove Dictionary pf Music and Musicians.Vol.

23(London and New York: Macmillan Publishers, 2001), p.671 72. Petree, p.47 73. Harrel, p.33 74. Petree, p.30 75. Petree, p.27 76. Petree, p.19 77. Wildman, p86 78. Harrel, p.2 79. Harrel, p.3

95

BIBLIOGRAPHY

Bebbington, Warren. “Carl Vine” The New Grove Dictionary pf Music and Musicians.

Ed. Stanley Sadie. Vol. 26 London and New York: Macmillan Publishers, 2001. Bernstein Seymour. With your own two hands. London: Collier Macmillan Publishers,

1981. “Carl Vine:Piano Sonata” <http://www.musicroom.com/se/ID No/0019253/details.ihtml> G. Schirmer, Inc. “Carl Vine” May. 1999.

http://www.schirmer.com/composers/vine/bio.html Gramophone. “Carl Vine”

http://www.fabermusic.co.uk/fabermusic/cont_composers/c_vine.html Griffiths, Paul. “Sonata” The New Grove Dictionary pf Music and Musicians. Ed.

Stanley Sadie. Vol. 23 London and New York: Macmillan Publishers, 2001 Harrel, Doris Leland. New Techniques in Twentieth Century Solo Piano Music-An

Expansion of Pianistic Resources from Cowell to the Present. D.M.A. Dissertation, The University of Texas at Austin, 1976.

Harvey, Michael. Program Note. “Piano Sonata (1990)”, 1991

http://www.carlvine.au.nu/cgi-bin/cv.cgi?cv=prog&n=Piano+Sonata Hofmann, Josef. Piano Playing with Piano Questions answered. Philadelphia: Theodore

Presser Co., 1920. Lester, Joel. Analytic Approaches to Twentieth- Century Music. New York and London:

W.W.Norton & Company, 1989. Matthay, Tobias. The Act of Touch in All its Diversity. London: Longmans, Green and

Co., 1919. Newmann, William S. The Pianist’s Problems. New York and Evanston: Harper & Row,

Publishers, 1956.

96


http://www.fabermusic.co.uk/fabermusic/cont_composers/c_vine.html

http://www.carlvine.au.nu/cgi-bin/cv.cgi?cv=prog&n=Piano+Sonata

Ortmann, Otto. The Physiological Mecahnics of Piano Technique. New York: E.P.Dutton & Co., Inc., 1929.

Petree, Katherine F. performance Practice in the Piano Music of Arnold Schoenberg.

D.M.A. Document, University of Kansas, 1986. Program Note. “Piano Sonata No.2” <http://www.carlvine.au.nu/cgi-

bin/cv.cgi?cv=prog&n=Piano+Sonata+No.+2> “Solos and Duos” <http://www.carlvine.au.nu/cgi-bin/cv.cgi?cv=gen&g=soloduo> Tobin, Temmy. “Michael Kieran Harvey: World Class Pianist”, 2002.

http://www.cso.org.au/2002%20Concerts/michael_keiran_harvey.htm Vine, Carl. Program Notes. Chamber Music Vol 2. Tall Poppies, 2000. Wildman, Joan Marie. Performance Practice of Aleatory Piano Music.

D.M.A.Dissertation, The University of Oregon, 1977

97

http://www.cso.org.au/2002 Concerts/michael_keiran_harvey.htm

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